The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
_______________________________
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
S.J. RAFFERTY REEL. Edison 52450 (78 RPM), 1928, John Baltzell
{Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d.
1904). Emmett returned to the town in 1888, poor, but late taught Baltzell to
play the fiddle}.
SKANKLAT FROM
DALA-JARNA. Swedish, Gift-giving Tune (4/4
time). D Major. Standard tuning. AABB. Thompson (Fiddler's Almanac), 198‑; pg. 54.
SKARDEN’S HUMOUR. English, Country Dance Tune (2/4
time). G Major. Standard tuning. AABB. The melody is unique to London publisher
Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 88.
X:88
T:Skarden’s Humour
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G/c/B/A/ G/g/f/e/|d/c/B/A/ BG|G/c/B/A/ G/g/f/e/|f/a/A/^c/ d2:|
|:b/g/e/g/
f/d/A/c/|B/d/B/G/ c/A/F/D/|b/g/e/g/ f/d/A/c/|B/d/A/F/ G2:||
SKATER'S WALTZ. American, Waltz. A Major ('A' and 'B' parts) & D Major ('C' part).
Standard tuning. AABC. Source for notated version: Mark O'Connor and Mosheh
Savitsky [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pgs. 310-311.
SKELCHER'S MARCH. Scottish, March. The melody appears in the Gillespie Manuscript of Perth, 1768.
SKELLEMAFAGO. English, Country Dance Tune. Published in Playford’s English Dancing
Master (1651). Raven (English Country
Dance Tunes), 1984; pg. 40.
SKENE OF SKENE. Scottish, Strathspey. G Major. Standard tuning. AABB. The tune's
composition is attributed to "G.S." in the Charles Duff collection of c. 1790. Glen (The Glen Collection of Scottish Dance Music),
vol. 1, 1891; pg. 32.
X:1
T:Skene of Skene
M:C
L:1/8
R:Strathspey
S:Glen Collection, Vol. 1
(1891)
Z:AK/Fiddler’s Companion
K:G
D|D<G G>E c>AB>G|G<B
B>G F<A A>B|D>GB>G c>AB>G|D>GF>A BGG:|
|:d|g>dB>g d<gB<g|g<dB<g
A/A/A ce|g>d B<g d>e d<B|c/B/A/G/ F>A BGG:|
SKERRY FOALIE. Shetland, Shetland Reel. Shetland, Whalsay.
SKIBBEREEN [1]. Irish, Reel. B Minor. Standard. AABB. Not "Skibbereen
Lasses." Hardings All Round
Collection, 1905; No. 169, pg. 54.
SKIBBEREEN [2]. Irish, Air (4/4 time). E Dorian. Standard. One part. The air is used
for other songs, including “McAlpine’s Crew.” The first two lines go:
***
O, Father dear, I
ofttimes heard you talk of Erin's Isle,
Her valleys green, her lofty scene, her mountains rude and wild;
You said it was a pleasant place wherein a prince might dwell,
Why have you then forsaken her, the reason to me tell?
***
My son, I loved our native land with
energy and pride
Until a blight fell on the land and sheep and cattle died,
The rents and taxes were to pay, I could not them redeem,
And that's the cruel reason why I left Old Skibbereen.
***
The song was recorded by the
Dubliners.
X:1
T:Skibreen
Q:1/4=96
L:1/8
M:4/4
K:E Dorian
z6 B2 |A3 G A2 B2 |e2 d2 B2 G2 |
A2 G2 E2 D2 |E6 B2 |e3 f g2 f2 |e B3
d2 =c2 |
B2 A2 G2 A2 |B6 B2 |e3 f g3 f |e B3
d2 e2 |
B3 A G2 A2 |B6 B2 |A3 G A2 B2 |e2 d2
B2 G2 |
A2 G2 E2 D2 |E8 |z6 B2 |A3 G A2 B2 |
e2 d2 B2 G2 |A2 G2 E2 D2 |E6 BB |e2
f2 g2 f2 |
e B3 d2 =c2 |B2 A2 G A3 |B6 B2 |e3 f
g3 f |
e B3 d2 e2 |B3 A G2 A2 |B6 B2 |A3 G
A2 B2 |
e2 d2 B2 G2 |A2 G2 E2 D2 |E8 |]
SKIBBEREEN LASSES, THE ("Na Cailinide Ua Sgioboirin" or
"Cailini Sgiobirin"). Irish, Reel. A Mixolydian. Standard tuning. AB
(O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). Source for notated
version: Abram Sweetman Beamish, a native of the adjoining parish to that of
Caheragh, County Cork, where Francis O’Neill was born. Although O’Neill got
seven tunes from Beamish, only the “Fairhaired
Boy [1]” and “Tie the Bonnet” were
previously known to him despite their common place of origin [O’Neill]. O'Neill
(Krassen), 1976; pg. 145. O'Neill (Music
of Ireland: 1850 Selections), 1903/1979; No. 1469, pg. 272. O'Neill (Dance Music of
X:1
T:Skibbereen Lasses, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A
e2 cA cdef|=gedc BcdB|e2 cA
cdef|=gedB cA A2|e2 cA cdef|=gedc BcdB|cAcd edef|
=gedB cA A2||cAce a2 ef|=gedc
BcdB|eA (3AAA a2 ef|=gedB cA A2|cAce a2 ef|
=gedc BcdB|A2 (3Bcd eaaf|=gedB cA
A2||
SKIDMORE GUARDS, THE. American, March (6/8 time). D Major ('A' part)
& A Major ('B' part): G Major ('A' part) & D Major ('B' part). Standard
tuning. AA'B. A "modern" piece, notes Bayard. The Skidmore Guards was
a song from a long-running series of routines by the famous variety act
Harrigan and Hart, and was originally entitled “The Skids Are Out Today.”
According to Brooks McNamara, in his book The
New York Concert Saloon: The Devil’s Own Nights (2002, pg. 50) the song was
from their The Mulligan Guard’s Chowder
and, “with appropriate marching, was a great favorite in concert saloons of the
(eighteen) seventies and eighties.” Sources for notated versions: James Smalley
(fiddler from
X:1
T:Skidmore Guards, The
M:6/8
L:1/8
R:March
S:Bayard – Dance to the Fiddle, March to the
Z:AK/Fiddler’s Companion
K:D
E | F2A AFA | BAF D2 (AB/c/) | dcd
e2f e2d |1 [c3e3] [B3e3]{c/B/} :|2
[c3e3][B2e2] (3a^g/f/ |: e2c d2a | f2d f2a |
^gfg efg | a^ga agf | e2c e2a | f2d
f2a | ^gfe dcB | [A3e3][A3e3] :|
SKILLET DUBH. Irish. A variant of this melody is “The Enniskilling Dragoon [2].”
SKILLFUL DOCTOR, THE. Irish. An air appearing in Luke Wadding's (The
Bishop of Ferns) A Pious Garland of Godly
Songs for the Solace of his Friends and Neighbours in their Afflictions,
1680.
SKIN THE PEELER(S). AKA and see "The Butterfly [3],"
"The Peeler Jig," "Barney's Goat," "Late Home at Night," "Óró, a Thaidhg, a Ghrá."
Irish, Slip Jig. G Major. Standard tuning. AABB. A 'peeler' was a slang term
for a policeman, derived from the name of the founder of the constabulary
force, Sir Robert Peel. The tune is known by this title among
X:1
T:Skin the Peeler
M:9/8
L:1/8
R:Slip Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
A | B2d e2f “tr”g3 | A2B d2f (dBA) |
B2d e2f “tr”g2a | b2a “tr”g2e (dBA) :|
|: B2A B2A G2A | B2A B2e (dBA) | B2A
B2A G2A | B2d e2 f (dBA) :|
SKINNBRACKA MÄ LUCKU. Scandinavian, Hambo Tune (3/4 time). D Major. Standard tuning. AA'BB'.
Private Collection, A. Kuntz.
X:1
T:Skinnbracka Mä Lucku
M:3/4
L;1/8
R:Hambo
S:”efter Hans Börtas (Rättvik)
K:D
d2F2 G>A|”tr”B2 A4|d2F2
G>A|”tr”B2 A4|g2 (B<g) B>g|f2 (d>f) d>f|
(e>f) (e>d) c>B|(A>B)
(A>G F>A| d2F2 G>A|”tr”B2 A4|d2F2 G>A|
”tr”B2 A4|g2 (B<g) B>g|f2
(d>f) a>f|e2 (c>e) a>c|{c}d2 d4:|
|:f2 (f>g) f>e|d2 (d>e)
d>c|B2 (G>B) d>B|”tr”B2A4|
e2 (e>f) e>d|c2 (c>d)
(c>B)|A2 (A>B) A>G|G2 F4|
f2 (f>g) f>e|d2 (d>e)
d>c|B2 (G>B) d>B|”tr”B2A4|
(A>B) (c>d) e>f|g2 (A>c)
e>f|g2A2 B>c|{c}d2 d4:||
SKIP PARENTI’S JIG. Irish, Jig. Composed by
SKIP ROPE. American, Clog. D Major ('A' part) & A
Major ('B' part). Standard tuning. AABB. It is possible the tune was connected
with a variety dance act in which a performer danced a clog while skipping
rope. There were many such hornpipe and
clog dance oddities on stage during the 1870’s and 1880’s. Cole (1000 Fiddle Tunes), 1940; pg. 119. Ryan’s Mammoth Collection, 1883; pg.
158.
X:1
T:Skip Rope
M:C
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3a^g=g | (f>.d)(A>.F)
D>A,D>F | A>df>b a2 g>f | g>ec>A G>EC>E |
G>Ac>e g>ba>g |
f>dA>F D>A,D>F |
A>df>b a2 (3a^ga | (3bbb =g>e c>AB>c | d2 [A2f2] [F2d2] :|
K:A
(3cd^d | (3eee =d>B G>Bg>f
| (3fff e>c (3Ace b>a | (3ggb (3ffa (3eeg (3ddf | e>ca>f e2 (3cd^d
|
(3eee =d>B G>Bg>f | (3fff
e>c (3Ace b>a | g>fd>B G>EF>G | A2c2A2 :|
SKIP THE WILLER. Old‑Time. The title appears in a list of traditional
SKIP YON WATER
WANTONLIE. Scottish. Appears in full in the
Guthrie MS. Guthrie was a covenenting minister beheaded in 1661 for publishing
a seditious pamphlet; he was probably no lover of dance music, and it may be
that some wag sewed the dance collection into the book of his sermons.
SKIPPER’S WEDDING, THE. AKA and see “Boy in the Basket,” "The High Road to Dublin [1]."
SKIPPIN’ CAT. American, Breakdown or Reel. G Major. Standard tuning. AABB. Composed
by one-time Gypsy Gyppo fiddler Jack Link (
SKIPPING LAMBS. Irish, Reel. Composed by
SKIPPING THROUGH THE
DAISIES (Ag-Foileacd Tri Na
Noininib).
Irish, Air (6/8 time, "playfully"). D Dorian. Standard tuning. AB.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 609, pg. 109.
X:1
T:Skipping Through the Daisies
M:6/8
L:1/8
R:Air
N:”Playfully”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:Ddor
d|f2d e2c|{e}dcB A2G|FAd f2d|e<a
z z2A|f2d {f}e2c|{e}dcB A2G|FAd age|e<d z z2||
d|A2F A2d|B<G z z2e|c2A c2e|g<fz
z2d|A2F Adf|a<gz z3g|fed e2a|f<d z z2||
SKIPTON LASSES. English, Reel.
SKIRL OF THE PIPES. Irish, March (cut time). A
Major. Standard tuning. AABB. Composed by Joseph Crofts. Miller (Fiddler’s Throne), 2004; No. 357, pg.
208.
SKIVER THE QUILT [1]. AKA and see “Larry Redican’s
(Jig),” "The Legacy [2],” "The Tailor's Wedding." Irish, Double
Jig.
SKIVER THE QUILT [2]. Irish, Jig. A Dorian. Standard tuning. AABB. Not related to versions #1
or #3. Kerr (Merry Melodies), vol. 1;
No. 37, pg. 39.
X:1
T:Skiver the Quilt [2]
M:6/8
L:1/8
R:Jig
B:Kerr – Merry Melodies, vol. 1, pg. 39 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Ador
B/d/|e3 edB|d3 dBd|e3 edB|dBA ABd|e3
edB|
ded def|g3 ege|dBA A2::B|G3 BGB|g3
gab|G3 BGB|
dBA A2B|GAG BGB|g2g gab|agf ege|dBA A2:|
SKIVER THE QUILT [3]. American, Jig. A Major ('A' part) & E Dorian ('B' part)
{Cole/Ryan}: G Major (‘A’ part) & D Dorian (‘B’ part) {Kennedy}. Standard
tuning. AABB. Not related to versions #1 or #2.
X:1
T:Skiver the Quilt [3]
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:A
f | eAA GAB | Bee Bcd | ecA GAB | BAA
A2f |
ecA GAB | Bee Bcd | ecA GAB | cAA A2
:|
K:D
f | e2f {a}gfg | eag fed | e2f
{a}gfg | ea^g a2f |
aba a=gf | edB def | gfe fdB | ABc
d2 :|
SKUNK IN THE COLLARD
PATCH. Old‑Time, Breakdown. G Major.
Standard tuning. AABB. Source for notated version: Greg Canote of the Small
Wonder String Band [Phillips/1989]; Jere Canote [Phillips/1994]. Phillips (Fiddlecase Tunebook), 1989; pg. 38.
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 223.
SKYE AIR, A. Scottish, "Very Slow" Air. E Minor. Standard tuning. AABB.
"Very Old" (Gow). Carlin (The
Gow Collection), 1986; No. 559. Gow (Complete
Repository), Part 3, 1806; pg. 10. MacDonald (The Skye Collection), 1887; pg. 159.
X:1
T:Skye Air, A
M:C
L:1/8
R:Air
S:MacDonald – Skye Collection
Z:AK/Fiddler’s Companion
K:Emin
D<d B>A Bd e2|g>d e2 B>A
G2|d<d B>A B>d e2|~G2 (B/A/)G/F/ BE E2|
d<d B>A B>d e2|g>d {d}e2
B>A G2|A>B g2 (g/f/e/^d/) {d}e2|G2 (B/A/)(G/F/) BE E2:|
|:[G2e2] [Ge][F^d] [G2e2]
[Ge][F^d]|e>f g2 B>A G2|[A2d2] dB (d2 e2)|
G2 (B/A/)G/F/ BE E2|{D}d2 {e}d>B {D}d2 d>B|(d2 e2) B>A G2|
AB {B}g2 (g/f/)(e/^d/) {d} e2|G2
(B/A/)(G/F/) BE E2:|
SKYE BOAT SONG, THE. Scottish, Air (6/8 time). G Major. Standard tuning. ABB. Words to the tune were written by Sir Harold Boulton to an air collected by Miss Annie MacLeod (Lady Wilson) in the 1870's. It seems that Miss MacLeod was on a trip to the isle of Skye and was being rowed over Loch Coruisk (Coire Uisg, the 'Cauldron of Waters') when the rowers broke out into the Gaelic rowing song "Cuchag nan Craobh" (The Cuckoo in the Grove). A talented composer and singer, MacLeod remembered fragments of the song and fashioned them into an air which she set down in notation with the intentions of using it later in a book she was to co-author with Boulton. Sir Harold joined Miss MacLeod at Roshven House, Invernesshire, soon after to work on their book, by which time the whole group at the residence was humming the "scrap of chanty" collected by her, and he too soon began to work the air around in his imagination. It was he that transformed the words the group had been singing:
***
Row us along, Ronald and John
Over the sea to Roshven
into:
***
and it was he who wrote additional lyrics in a Jacobite mold, introducing the heroic figures of Bonny Prince Charlie and Flora MacDonald. As a piece of modern romantic literature with traditional links it succeeded perhaps too well, for soon people began "remembering" they had learned the song in their childhood, and that the words were 'old Gaelic lines'. In 1893 a publisher, believing the tune to be an ancient traditional air, commissioned a Brechin teacher named Margaret Bean to compose another set of lyrics to it, which gained some popularity.
The song begins:
***
Loud the winds howl, loud the waves roar,
Thunderclaps rend the air,
Baffled our foes stand on the shore,
Follow they will not dare.
Chorus:
Speed bonnie boat, like a bird on the wing,
Onward the sailors cry!
Carry the lad that is born to be king,
Over the sea to Skye!
While Bean's words go:
Waft him, ye winds, far o'er the sea,
Far from a traitor's eye,
Over to loyal Skye.
***
Francis
Collinson, in his Traditional and National Music of Scotland, says that
"Among a sea going island people like those of the Hebrides, the iorram
(pronounced-irram) or rowing songs must have been one of the most frequently
heard songs." Many of the songs are written in ¾ or a slow 6/8 time. Stan
Reeves remarks “Collinson was puzzled by this as rowing has an in and out
movement. But he had obviously never rowed with long oars on the Minch. The 1st
beat is very pronounced and corresponds with lifting the oars out and swinging
them forward as you straighten your arms and lean forward. 2 and 3 are the
pulling stroke. Imagining this when you are playing will give you the right
tempo and a very primitive rhythmic chanted feel, rather than the twee parlour
interpretations. Try it with ‘Fear a' Bhata!’
or the ‘Skye Boat Song’. These are just two of the many airs used as waltzes in
the Western isles which clearly predate the introduction of the waltz.” See
also note for "The Castle of Dromore."
Kerr (Merry Melodies), vol. 3; No.
410, pg. 45. Silberberg (Tunes
I Learned at Tractor Taven), 2002; pg. 145. North
Star RS0009, "The Wind in the Rigging: A
X:1
T:Skye Boat Song
M:6/8
L:1/8
R:Air
S:Kerr – Merry Melodies, vol. 3, No.
410 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
D>ED G2G|A>BA d3|B>AB
E2E|(D3 D2)D|D>ED G>GG|
A>BA d3|B>AB E2E|(D3
D2)d|d>ed g2g|a>ba d’3|b>ab e2e|
(d3 d2)d|d>ed g>gg|a>ba
d’3|b>ab e2e|(d3 d2)z||
|:bgb b3|aea a3|geg g2g|(e3 e2)z:|
SKYE DANCE. Scottish, Reel. A Dorian. Standard AABB. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 9.
SKYE GATHERING, THE. Scottish, March (2/4 time). D Major. Standard.
AABB. Martin (Ceol na Fidhle), vol.
1, 1991; pg. 34.
X:1
T:The Skye Gathering
K:D
M:2/4
Z:Transcribed by Nigel Gatherer
L:1/16
B:"Ceol Na Fidhle" Vol.I
(Skye 1985)
A>d|f>ed>e
f<aA>d|f>gf>e d4|e2e>f g>e>f>d|
e4 A2d>e|f>ed>e
f<aA>d|B<GB>d A2g2|f2f<a e>Ae<f|d4 d2:|]
f>g|a>Aa>g
f>ed>e|f>Ad>e f4|g>fe>g f>ed>f|
e4 A2f>g|a>Aa>g
f>ed>c|B<dB<d A2g2|f2f<a e>Ae<f|d4 d2:|]
SKYEMAN'S JIG, THE. Scottish, Jig. A Dorian. Standard tuning.
AABB'CCDD'. Composed by D. Johnston. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 39.
SKYLAND RAG. Old-Time, Country Rag. F Major. Standard tuning. AAB. Source for
notated version: John Rector with The Rector Trio [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 130.
SKYLARK [1], THE (An Fhuiseog). Irish,
Reel. D Major (most versions): G Major (Laufman). Standard tuning. AABB (most
versions): AA’BB’ (Harker/Rafferty). The melody is often credited to
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Skylark, The [1]
R:reel
C:James Morrison
S:from Gail
Z:TK-MMFCTIM-R-212
M:C|
L:1/8
K:D
f|agfg efdB|AF~F2 DFAd|BG~G2 EFGE|FA~A2 FAdf| agfg efdB|
AF~F2 DFAd|BGGF G2 ag|(3faf eg fd d:: f|(3aba fd Adfd|(3efg ed cAAf|
(3aba fa bged|Beed efge| ~f3 a ~g2 (ag)|(3fgf ef dBAG|FAdc ~B2 ag|(3faf eg fd d:|
X:2
T:Skylark, The [1]
M:C|
L:1/8
R:Reel
S:Brian Conway
Z:AK/Fiddler’s Companion
K:D
agf(g e2) dB|A(~F3 D)(FA)d|B(~G3 EF)GE|FA (3AAA FAdf|
agf(g e2)dB|A(~F3 D)(FA)d|B(GF)G E2 ag|1 (3fga e(g f)d dz:|2
(3fga eg fddf||:(3aba fd Adfd|efe(d c)AAf|a2 fa bged|BeeB efge|
(3fga f(a gf)ge|fde(c d)BAG|FAdB GBag|(3fga eg fd d2:|
SKYLARK [2], THE (An Leartog). Irish, Air (3/4 time, "tenderly"). G
Major. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 187, pg. 33.
X:1
T:Skylark, The [2]
M:3/4
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland (1903), No. 187
Z:AK/Fiddler’s Companion
K:G
BA | G>F FG EC | D4 (3DEF | G3
ABc | A2d2 dB | G>F FG EC |
D4 (3DEF | GB E2 AF | G4 || DD | G3
F G/A/B/c/ | d4 e>d |
dB GA (3Bdc | B2A2 dB | G>F FG EC
| D4 (3DEF | GB E2 AF | G4 ||
SKYLARK [3], THE. AKA and see “Jackson’s Maid at the Fair
[2].” Irish, Jig. G Major. Standard. AABB. Source for notated version: the
Pat Dunne manuscript [O’Neill]. Flaherty (Trip to Sligo), 1990; pg. 125 (appears
as “Unknown”). O’Neill (Waifs and Strays
of Gaelic Melody), 1922; No. 174.
X:1
T:Skylark, The
M:6/8
L:1/8
S:Pat. Dunne manuscript
Z:Paul Kinder
K:G
A/2B/2|cAA eAA|dBG GAB|cAA eAA|dBG A2 B|
cAA ece|dcd GBd|f/2g/2af gfe|dBG A2:|
|:B|def g2 f|edc Bcd|efg aga|bgg e2 f|
gfa gfe|dcd Bcd|cBc age|dBG A2:||
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[COMMENT1]This was Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.